Something very strange happened in the transition of Willy Wonka's character from Gene Wilder's portrayal to Johnny Depp's version. If Tim Burton's reimagining didn't attain the iconic status of the old movie, then Depp's interpretation of the infamous chocaleteer certainly made up for it by travelling to the outer limits of the character's insanity. Every aspect of Wonka's flamboyant personality seems to be exaggerated and distorted -- both for better and for worse. Depp's Wonka is a nervous, quirky man clinging to a kind of childish arrogance -- reflecting the fact that he obviously got stuck somewhere in the psychological transition from childhood to adulthood. Depp's mannerisms scream camp and his sartorial style -- purple leather gloves, top hat, velvet red coat and candy-swirl cane -- aren't likely to land him the cover of GQ. Wonka's weird, disjointed speech, menacing clacking teeth and way with unprompted non-sequiturs only adds to his absurdity -- and he's not averse to laughing at his own jokes in between choreographing midget dancers and sending greedy brats to their doom. Also, probably a cannibal: "Everything in this room is eatable," he giggles. "Even I'm eatable."

The instant that David Bowie emerges onto our screen with that fantastically loud glam-rock mullet hairstyle, silver eye make up, a dramatic cape and -- his piece de resistance -- a pair of anatomically-hugging jodhpurs that bend the young mind, we can but gaze in awe at this ridiculous, grandiose creature. Then -- just when we think that we've seen it all -- he begins to sing. With Muppets. Each musical sequence in Labyrinth provides a new opportunity for Bowie to croon melodramatically, chastize his cavern of goblins and ogres, and taunt his petrified baby-captive (who he also enjoys throwing dangerously into the air). Bowie's Goblin King really puts his outrageous cards on the table when he declares, "I ask for so little. Just fear me, love me, do as I say and I will be your slave." Remind us again: why would Jennifer Connolly want to escape from this man and return to boring suburbia? Silly girl!

Before Tim Burton made Pee-wee's Big Adventure, Paul Reubens' signature comedy character was in a television special aimed at adults. Burton and Reubens might have toned down the humour in order to appeal to a younger audience, but movies have rarely seen a more eccentric figure -- part eternal innocent, part fringe oddity and, to anyone who saw him at a formative age, more than a little bit unnerving. Burton's ability to communicate the bizarre, combined with Reubens' controversial character, ensures the makings of one peculiar icon. Well, any pale, nerdy, naive man that gets around on a Schwinn cruiser bicycle in a grey plaid suit, red bow tie with matching rouge lipstick and short black hairstyle is already on his way to pop culture immortality. Who doesn't remember his bar-top dance to "Tequila", or childish retort: "I know you are, but what am I!"?

It might be more than three decades old, but make no mistake -- bad-taste auteur John Waters' Pink Flamingos is one shocking piece of work that could shame even Sacha Baron Cohen's most extreme inclinations. Its lead player "Divine" is an obese, vile and gleefully distasteful drag queen who proudly holds the title of the "Filthiest Person Alive". Her proto-punk makeup (incredibly high eyebrows, blue eye shadow, dark blush, strong uneven lipstick and dramatic eyeliner), chanelling of Liz Taylor at her most shrieking, and gallery of trashy skin-tight dresses results in an unforgettably tacky character who exists beyond the bounds of most peoples' idea of society. (She was also, infamously, the inspiration for The Little Mermaid's Ursula.) Nothing is sacred in this film, from bestiality to incest, abortion and a real scene in which Divine eats dog poo! Definitely not for those of you with a weak stomach.

Our first glimpse of Frank-N-Furter is of his sparkling, diamante-encrusted platform shoes tapping away to the soundtrack tune of "Sweet Transvestite". A moment later he's revealed to us in a long dark cape and big, scruffy Robert Smith black hair, dark gothic makeup and loud red lipstick. He strips off the cape to expose nothing but lingerie: including a corset, ripped fingerless gloves, thigh-high nylons and a pearl necklace. "I'm just a sweet transvestite," he announces, "from transsexual Transylvania." What's more, he's irresistible to both men and women -- we'd like to see Bruno pull that off!